Imaan August 2009 Newsletter
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Alcohol & Soaps Drinkaware Media Analysis September 2010 © 2010 Kantar Media 1 CONTENTS •Introduction 3 •Executive Summary 5 •Topline results 7 •Coronation Street 16 •Eastenders 23 •Emmerdale 30 •Hollyoaks 37 •Appendix 44 Please use hyperlinks to quickly navigate this document. © 2010 Kantar Media 2 INTRODUCTION •Kantar Media Precis was commissioned to conduct research to analyse the portrayal of alcohol and tea in the four top British soap operas aired on non-satellite television, Coronation Street, Eastenders, Emmerdale and Hollyoaks. The research objectives were as follows: •To explore the frequency of alcohol use on British soaps aired on non-satellite UK television •To investigate the positive and negative portrayal of alcohol •To explore the percentage of interactions that involve alcohol •To explore the percentage of each episode that involves alcohol •To assess how many characters drink over daily guidelines •To explore the relationship between alcohol and the characters who regularly/excessively consume alcohol •To look further into the link between the location of alcohol consumption and the consequences depicted •To identify and analyse the repercussions, if any, of excessive alcohol consumption shown •To explore the frequency of tea use on British soaps aired on non-satellite UK television •Six weeks of footage was collected for each programme from 26th July to 6th September 2010 and analysed for verbal and visual instances of alcohol and tea. •In total 21.5 hours was collected and analysed for Emmerdale, 15.5 hours for Coronation Street, 15.5 hours for Hollyoaks and 13 hours for Eastenders. © 2010 Kantar Media 3 INTRODUCTION cont. •A coding sheet was formulated in conjunction with Drinkaware before the footage was analysed which enabled us to track different types of beverages and their size (e.g. -
Rannual Report 2017
T T ANNUAL REPORT RR2017 SS PATRONS PRINCIPAL PATRONS BBC ITV Channel 4 Sky INTERNATIONAL PATRONS A+E Networks International NBCUniversal International Akamai The Walt Disney Company CGTN Turner Broadcasting System Inc Discovery Networks Viacom International Media Networks Facebook YouTube Liberty Global MAJOR PATRONS Accenture ITN Amazon Video KPMG Atos McKinsey and Co Audio Network OC&C Boston Consulting Group Pinewood Studios BT S4C Channel 5 Sargent-Disc Deloitte Sony Endemol Shine STV Group Enders Analysis TalkTalk Entertainment One UKTV Finecast Vice FremantleMedia Virgin Media IBM YouView IMG Studios RTS PATRONS Alvarez & Marsal LLP Raidió Teilifís Éireann Autocue Snell Advanced Media Digital Television Group UTV Television Lumina Search Vinten Broadcast PricewaterhouseCoopers 2 CONTENTS Foreword by RTS Chair and CEO 4 Board of Trustees report to members 6 I Achievements and performance 6 1 Education and skills 8 2 Engaging with the public 16 3 Promoting thought leadership 26 4 Awards and recognition 32 5 The nations and regions 38 6 Membership and volunteers 42 7 Financial support 44 8 Summary of national events 46 9 Centre reports 48 II Governance and finance 58 1 Structure, governance and management 58 2 Objectives and activities 60 3 Financial review 60 4 Plans for future periods 61 5 Administrative details 61 Independent auditor’s report 64 Financial statements 66 Notes to the financial statements 70 Notice of AGM 2018 81 Agenda for AGM 2018 82 Form of proxy 83 Minutes of AGM 2017 84 Who’s who at the RTS 86 3 FOREWORD n 2017, we celebrated our 90th anniversary. It Our bursaries are designed to help improve social was a year marked by a rise in membership, mobility. -
In the Wake of the New US TV Series, the New Normal, with Its Plot Revolving Around a Gay Couple and Surrogacy, We Explore How T
PINK PARENTING ON TELEVISION WORDS_ LOUISA GHEVAERT In the wake of the new US TV series, The New Normal, with its plot revolving around a gay couple and surrogacy, we explore how television has played a key role in promoting lesbian and gay relationships over the last thirty years. However, its role as an engine of social change has had its fair share of highs and lows along the way. ISSUE 06 – SUMMER / AUTUMN 2012 16 WWW.PINK-PARENTING.COM WHY IS TV SO IMPORTANT? Television is an important cultural resource, which develops including homophobia and inequality in the law (since in 1987 people’s awareness and understanding of many different the legal age of consent was 21 and not 16 as it stands today). issues, including sexuality. Television is a powerful visual medi- Their gay relationship was portrayed with care and it proved to um which captures public imagination and commands massive be a turning point on TV. numbers of viewers. At its most memorable, it runs explosive EastEnders continued to push boundaries on TV and in programmes and storylines that challenge people’s perceptions 1988, Colin formed a new relationship with a work colleague and understanding of themselves, others and the world around called Guido. The BBC developed Colin’s new relationship with them. At its worst, it can be implausible and inane. determination and in January 1989, Colin and Guido portrayed the first gay mouth-to-mouth kiss on British TV. The episode TV COVERAGE OF LESBIAN AND GAY RELATIONSHIPS featuring their kiss attracted an audience of 20 million viewers Thirty years ago, lesbian representation on TV was virtually across Britain and angry front page coverage amongst right non existent. -
BBC Worldwide Press Office BBC Worldwide Australia Level 5, 6 Eden Park Drive, Macquarie Park NSW 2113 9 January 2012
BBC Worldwide Press Office BBC Worldwide Australia Level 5, 6 Eden Park Drive, Macquarie Park NSW 2113 9 January 2012 DOUBLE THE TROUBLE IN ALBERT SQUARE EastEnders fans are in for a treat as UKTV begins screening double episodes of the popular soap every Monday to Thursday night from January 23rd at 6.30pm, bringing the Australian transmission closer to the British broadcast. Set in the fictional borough of Walford in the East End of London, the ups and downs of the lives of the residents of Albert Square - not to mention the dodgy deals, thwarted romances, kidnapped babies and occasional murder - have been keeping UKTV viewers hooked on the show since the channel launched in 1996. Now Australian fans won’t have to wait as long for the latest twists and turns to hit their screens as the catch-up episodes will continue until mid April when the programme is running just one month behind the UK. Deirdre Brennan, Director of Television, BBC Worldwide Australia said: “EastEnders is our number one show. I’m delighted to be able to give our soap savvy fans a double-helping from the Square as we close the gap on the UK. With Mandy’s unlikely romance with Ian, Tyler’s determined attempts to woo Whitney and mayhem at the Moon’s there’s plenty for them to enjoy.” A brand new dedicated fansite (www.bbcaustralia.com/eastenders) will launch to coincide with the double eps. Fans will be able to view catch-up and preview clips of the latest eps plus special behind- the-scenes interviews and have opportunities to interact with other EastEnders fans. -
BBC Technology Shapes up for The
26·01·10 Week 4 explore.gateway.bbc.co.uk/ariel THE BBC NEWSPAPER More HelP For Haiti: THE BBC a anD inDIVIDUal staFF resPonD in Practical waYS PAGE 3 PH otogra PH: anna gor D on WEST END GIRLHANNAH KHALIL’S thought provoking ◆ play about what happens to ordinary people when they become refugees begins a run on the London stage Page 5 ◆ BBC technology ◆ No giggling ◆ Industry keeps shapes up for while newsreading – up pressure over the future Page 2 announcers’ tips Page 7 scale of BBC Page 10 > NEWS 2-4 WEEK AT WORK 8-9 MAIL 11 JOBS 14 GREEN ROOM 16 < 162 News aa 00·00·08 26·01·10 SUPPLIERS GET CHANCE TO HAVE THEIR SAY NEWS BITES a BBC News is taking part in an independent study of the effect New plan unveiled to take on journalists and other media professionals of covering traumatic Room 2316, White City events. Researchers from the 201 Wood Lane, London W12 7TS technology into the future University of London will contact 020 8008 4228 news people at random; participation Editor by Sally Hillier what sort of company and on what kind of scale.’ is voluntary and nobody outside Candida Watson 02-84222 He adds that from now on more effort will be the project (including the BBC) made to call outside suppliers to account. ‘When Deputy editor A new technology plan has been unveiled, aimed will have access to the responses. at making the BBC more ‘technically agile’ and we have a contract with a vendor, we absolutely Cathy Loughran 02-27360 responsive to digital developments, market influ- will make sure that they deliver.’ SINGER KIRI Te Kanawa, conductor Chief writer ences and changes in audience behaviour. -
Channel 4 Pilot Study: Diversity Portrayal Monitoring
CRG/Diversity portrayal monitoring: Channel 4 pilot study 1 Channel 4 Pilot Study: Diversity Portrayal Monitoring Introduction Just how well does mainstream television do today in the diversity stakes? To answer this Channel 4 commissioned this survey. It provides a snapshot of peak time viewing examining the on-screen representation of gender, ethnicity, disability, sexuality and age. The sample is of 863 programmes covering 386 hours of output across BBC1, BBC2, ITV1, Channel 4, Five and Sky1 taken between September and October 2009. The focus here is on UK productions and so acquisitions as well as films and sport were excluded from analysis. The results below begin with the overall frequencies of representation on screen. These were calculated by logging all participants making an individual contribution to a programme. In this overall count of the television population, people were categorised according to their ethnicity, gender, age and level of appearance. A log was made where participants revealed their sexuality or any disability. In addition to the above, participants were profiled to record details of the way in which they were portrayed as well as their role in the narrative such as whether their minority group status was relevant to the role or used to highlight issues of discrimination or stereotyping. Profiles were completed for: • All disabled, gay and lesbian (LGBT) and those demonstrating some faith. • In the case of older people and ethnic minorities, although all were counted, incidental fictional characters were excluded from profiling along with both minor and incidental contributors in factual programming. • Finally, gender profiles were limited to a maximum of 2 males and 2 females taken from each programme. -
'We Don't Make Life, We Reflect It' Eastenders: Masood Family and the Question of Islamophobic
‘We don’t make life, we reflect it’ Eastenders’ Masood family and the question of Islamophobic representation within the British Media. Matthew Vince This dissertation is submitted to Cardiff University in partial fulfilment of the requirements for the Masters degree ‘Islam in Contemporary Britain’ 2012—2013 Cardiff School of History, Archaeology and Religion Acknowledgements This dissertation is as much Dr Saira Malik’s as it is my own, and without her supervision I would still be conceiving a research question which fit the data, let alone producing findings from this. I owe my deepest gratitude to her constant guidance at every stage, not just during the dissertation but throughout the entire year. In this way, I am also grateful to Dr Sophie Gilliat-Ray for the whole learning experience of the MA. I have not only accrued a lot more knowledge, but also many more questions, which motivates me to continue to study and eventually contribute to this emerging field. My course mates deserve a special mention for creating a very enjoyable intellectual environment in which to learn, both within and outside university, and putting up with my ramblings every week. And without the very generous scholarship from Mr Jameel none of this would have been possible. I am indebted to him for this opportunity, and I cannot adequately express in words my thanks and appreciation for giving me this chance. 2 Abstract Using Eastenders’ Masood family, in this dissertation I question the Muslims in the British Media literature’s underlying assumption that all British Muslim media representations are Islamophobic.